So two years after the Golden Globes disappeared from our screens, first due to a lockdown caused by the pandemic, and then because of financial, ethical, and racial scandal. And with their disappearance, the first major red carpet of the phenomenon otherwise known as the Extended Awards Season Fashion Show is gone.
Before the event, speculation was rampant: would the stars really show up for the tainted Hollywood Foreign Press Association? And if they did, would they try to belittle their bond with the night’s prizes? Would they stay away from glamorous ensembles in favor of the forgettable mundane and bland?
As if. Globes night has become a statement night on stage and on the red carpet. Not so much the marketing or branding type, but the personal kind. And it was more interesting for him.
Host Jerrod Carmichael set the tone with an opening monologue that addressed the Globes’ historical lack of diversity without throwing any punches, and continued from there – a velvet suit (the first Armani) with matching six (count) outfit changes that included two skinny blacks; a pink symphony; a white tuxedo with a high neck and pearl necklace; and a Bode beaded tunic. It could be a record for the number of award show appearances worn by a single host. If a fashion brand doesn’t register it right away, it will be the biggest surprise of the night.
Still, go big or go home seemed to be the general theme. Embarking on her first big post-baby event, Rihanna swaddled in a black velvet Schiaparelli bustier dress and a huge, sculpted velvet shawl that swallowed the shoulders, plus velvet opera gloves and Cartier diamonds.
From left, Jessica Chastain in Oscar de la Renta; Angela Bassett in Pamela Rolland; and Laverne Cox in old Galliano. Credit… Jon Kopaloff/Getty Images, Amy Sussman/Getty Images, Frederic J. Brown/Agence France-Presse — Getty Images
Angela Bassett portrayed a silver superhero in Pamela Rolland sequins. Laverne Cox channeled Marilyn Monroe in a blonde bob and vintage Galliano dress. And Jessica Chastain is caught in a finely beaded Oscar de la Renta spider web with a matching mask. He was one of the few attendees to give a nod to the continuing reality of Covid.
Royal was a trend that was represented in a lot of red (Lily James in a bandeau blouse with acres of flamboyant Versace skirting hanging from it, and Billy Porter in a cardinal velvet Christian Siriano coat with a wide tail) and purple (at Valentino and Selena Gomez). Sheryl Lee Ralph in Shimmering Aliétte). This was probably not surprising given the recently unavoidable nature of the issue, thanks to Prince Harry’s memories.
Also in pink, courtesy of Seth Rogen in Salmon Dior Men and Margot Robbie of Powder Puff in Chanel. (Rumors of his departure from the brand seem pretty exaggerated.) And exaggerated badges on the collars, represented by Eddie Redmayne’s chocolate Valentino, Diego Calva’s forest green Gucci, and Emma D’Arcy’s oversized Acne Studios satin tuxedo, skirt, and pants. chosen. because, they said, “there can’t be anything that isn’t binary like wearing both a skirt and trousers.”
There was a lot of dress talk. Michaela Jaé Rodriguez in a draped sapphire Balmain told E! that her dress is a “water butterfly”. Michelle Williams looked like sea coral floating among the waves in cascading Gucci ruffles. Jenny Slate said she wanted to look “like a woman about to turn into a magic plant” in a leafy green Rodarte with a flower on her throat. Why not? the beginning of the year. Anything can happen.
Donald Glover said he went for comfort and the chance to “get slightly drunk” in his white silk YSL pajamas and robe, which he wore under his tuxedo; probably the perfect combination of working from home meets black tie. You can go from the ballroom to the bedroom in one step.
Indeed, it was just one of several contemporary twists of the vintage tuxedo, as most successfully modeled by Hannah Einbinder in a sleek, sharp-shouldered tuxedo dress with a real roll-up at the waist and Jean Smart and a strapless black Carolina Herrera. corset white bow tea dress.
Like Letitia Wright, she looked as if she could move, in a simple Prada trompe l’oeil silk columnar dress that was deliberately crumpled and had a kind of rough cut on her leg to the grace of imperfection. Like the night itself, it was a reminder that when it comes to our flaws, what matters is how we deal with them.